This article examines writing about popular music which took place outside the academic sphere in the Czech nation after 1945. This is not just the usual magazine and book journalism. Owing to the censorship of all publishing entities by the state and the Communist Party of Czechoslovakia 1948–1989, alternative publishing platforms played a very important role in mediating the professional exchange of opinions and information on topics that were not preferred or even forbidden elsewhere. These included periodicals of various social organisations and interest institutions as well as privately produced and distributed printed matter and manuscripts. The article compares how these activities have evolved over time in the context of political change and reflects on the functions they have fulfilled in society.

Björn Heile's 3 × 10 Musical Actions for Three Socially Distanced Performers features frequent changes in musical material, playing style and instrumental combinations. Throughout a series of short sections, the performers play, sing, speak, conduct and move around, following instructions that appear on tablets. This article reflects on audiences’ experiences of the work and on musical actions more generally. We consider musical actions as short, coherent motion chunks and distinguish between several types of action that appear in the piece: gestures (communicative actions, with or without sound), reactions (where a player responds to another) and interactions (where players mutually coordinate). The musicians’ individual and collective actions create a sense of play: on the one hand, they seem free and depart from standard concert conventions; on the other hand, they seem to be following a set of rules, even if these rules are not explained to the audience. As such, we approach the piece via theories of play and relate it to earlier modernist musical games. Ultimately, 3 × 10 Musical Actions emphasises several aspects of musical actions, as social, functional, expressive, playful and embodied.

Some musics and musical situations seem to invite the audience to participate; others insist that the audience should absorb the events of performance in rapt attention. A slippage between such distinctions can also arise: a moment where an audience might be uncertain as to whether joining in is desired or welcome. In an examination of such a moment of uncertainty or surprise, at the close of Raymond MacDonald's Stolen in a Dreamland Heist (2021), we suggest that such events point towards and perform the particular creative spaces and spacing effects that arise in musical events in ways which draw attention to the affective bodily relationships between performers and auditors. The article takes the form of its own nested dialogue: an interview with the composer forms its central portion, framed within theoretical examination both of that critical moment within performance and the reflections on it the interview reveals.

The two related notions of honour and reputation are closely associated with the social status of individuals (male or female), particularly in a society governed by traditional, patriarchal moral values. However, writing about honour and reputation in Iraq (and in the Middle East in general) means talking about women's chastity and their sexual morality specifically. Eclipsing honour and societal reputation to women's bodies are deep-rooted patriarchal norms that stigmatize women's involvement in sexual relations (mainly outside marriage codes) and exclude men from this adultery framework. The current paper investigates the concepts of honour, chastity and reputation in relation to gender norms in Iraq through two contemporary Iraqi plays. First, the article introduces the two concepts through the social, traditional and religious context in the Middle East, focusing on Iraq. The discussion in the second section moves to tackle Ali Al Zaidi's play Rubbish (1995), while the third section deals with Amir Al-Azraki's The Widow (2014). In these two sections the study looks critically at how the two plays dramatize the concepts of honour and chastity through their characters. Being written respectively during and after wars, the two plays are seen as reactions to such issues. Hence they represent the new complex visions of two male perspectives challenging dramatically and shaking the settlement of such notions of morals and their impact on women as well as on society.

This article examines a group of seventy-two fragments from a twelfth-century pontifical whose attribution is under discussion. They contain part of the dedication of a church, the ordo synodalis, and the ordines for the sick, marriage and baptism, and they display neumatic notation on red lines. The fragments are kept at the Bibliothèque nationale de France: five of them are now in NAL 1989, while the remaining sixty-seven are kept in a temporary repository and have not been inventoried yet. As regards their origin, the fragments have been assigned either to northern France or to England. The article considers textual concordances, as well as palaeographical and musical features, in order to reconstruct their context of production, and leaves room for methodological observations.