1. Role of music therapy in the development of language skills in children with autism spectrum disorder : a systematic literature reviewLucija Mlakar, Vesna Posavčević, 2026, review article Abstract: Autism Spectrum Disorder (ASD) is a complex neurodevelopmental condition that typically emerges in early childhood, marked by difficulties in communication, social interaction, behaviour, and emotional regulation. Despite these challenges, many children with ASD demonstrate exceptional musical abilities, making music a powerful medium for enhancing self-expression, fostering social bonds, and supporting neurological development crucial for speech and social skills. Historically, minimally verbal children with ASD were often excluded from research due to the difficulty of assessment using standardised tools; however, recent advancements have enabled more inclusive studies. Over the past decade, naturalistic approaches have gained prominence, with music therapy emerging as a particularly promising intervention. A systematic literature review, based on original research sourced from PubMed, Sage, and ScienceDirect, examined six studies involving children aged two to twelve years with minimal verbal abilities and a clinical diagnosis of autism. These studies consistently found that music therapy significantly supports the development of language and social communication skills, while also enhancing fronto-temporal brain connectivity. The review contributes valuable insights into the current state of research, underscores the importance of early intervention and parental involvement, and lays the groundwork for further exploration into the role of music therapy in language development for children with ASD.
Keywords: autism spectrum disorder, children, minimal language abilities, social communication, fronto-temporal brain connectivity, music therapy, non-music therapy
Published in RUP: 28.01.2026; Views: 180; Downloads: 6
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2. A study of motivational strategies in arts activities for preschool children in special education unitsBarbara Kopačin, Ana Kovačič, Eda Birsa, 2026, original scientific article Abstract: Among preschool children with special educational needs, art can open additional pathways to expression, safe exploration and experimentation, and it can foster motivation for creation. The purpose of the study was to determine which strategies educators in developmental departments use to encourage the active participation of preschool children in artistic activities (RQ1), and how motivation is expressed among these children during artistic creation (RQ2). A qualitative methodology was employed, using semi-structured interviews and observations of preschool children during interdisciplinary artistic activities. The results showed that educators use diverse and tailored strategies, such as linking art with play, taking children’s interests into account, and creating a supportive and safe environment. Musical activities proved particularly effective, as they stimulated intrinsic motivation and acted as a bridge to visual/artistic expression. Children’s motivation manifested itself in active engagement, curiosity and persistence, especially in activities that allowed for choice and sensory-adapted approaches. The findings emphasise the importance of individualisation, a process-oriented approach and interdisciplinarity for fostering intrinsic motivation in children with special needs.The study originally examines the integration of musical and visual activities as a strategy for promoting the motivation of preschool children with special needs in developmental departments. In doing so, it opens up a new research and pedagogical area and offers practical guidelines for encouraging motivation through the effective incorporation of interdisciplinary approaches into special-educational practice.
Keywords: artistic activities, visual arts, music education, interdisciplinary integration, motivation, developmental department, preschool children
Published in RUP: 09.01.2026; Views: 197; Downloads: 7
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4. Recent Slovene Music and its InterpretersNiall O’Loughlin, 2025, independent scientific component part or a chapter in a monograph Abstract: A serious new music culture has been very strong in Slovenia, specially in the second half of the 20th century. The foundation for this has been very much enabled by the high-level skills and application of the performers, the interpreters of the music. This has encouraged the determination and enthusiasm of the composers, as well as the attention and participation of the audiences. Performers such as the violinist Igor Ozim, the pianist Aci Bertoncelj, the conductor Ivo Petrić and the Slovenska filharmonija and RTV Symphony Orchestra have been particularly notable in this process, giving a strong platform for new music. Vocal music at this time has been less prominent in new music by younger composers because performers seemed to be more involved in interpreting the older Lieder repertory. From the time of independence and into the 21st century, conditions have changed. All the signs were there that building on the achievements of the 20th century, there was a tremendous surge of enthusiasm for ensuring that a serious music culture was reinvigorated and growing. Solo instrumentalists and singers were trained to an even higher standard, making possible techniques and interpretative skills that were barely imagined earlier. Solo performers proliferated with particular contributions from violinists, cellists, clarinettists, flautists, brass players and pianists. Composers responded with large numbers of pieces that were performed at various platforms which included new music. While the adventurous ensemble music in the 20th century was mainly restricted to the work of the Slavko Osterc Ensemble, in the 21st century a number of new ensembles have been created with a corresponding increase in opportunities for composing music for these very skilled mostly young players. As earlier, a central role in encouraging the composition of new Slovene orchestral music has been the strong performing skills of the two professional orchestras in Ljubljana, especially in the orchestras’ concert seasons and in concerts of the Slovene Music Days. The attention to vocal and choral music has also developed very strongly among composers. Some opera singers who in the past have concentrated on the classics of the opera house have now been willing to attempt more difficult new locally composed operas. This has inevitably created a greater acceptance of new music in the opera house with composers producing new works, though this has been a very gradual process. Not only do older performers now pay attention to the 19th and 20th century ‘classics’ of Slovene music, but they have branched out into more adventurous idioms and they have been joined by the younger generation.
Keywords: performers, Slovenia music, Slavko Osterc Ensemble, Slovenska filharmonija, RTVS Symphony Orchestra, Slowind, Slovenian Music Days
Published in RUP: 19.12.2025; Views: 176; Downloads: 0
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5. AI and Musical InterpretationWolfgang Marx, 2025, independent scientific component part or a chapter in a monograph Abstract: Generative AI is used to create music more and more. This chapter explores how this phenomenon affects aspects of musical interpretation. The way in which AI generates texts, pictures, music and other media indicates that compared to human creators – it is likely to reduce the range of interpretative variants in its output. This argument is developed in three steps: firstly, a number of examples of AI-generated songs are presented in order to outline what AI can do at the moment. Secondly, the way in which large language models (LLMs) – the underlying systems of many AI generators work is discussed, showing that LLMs have a tendency to standardise their results, while also removing any quirk or idiosyncrasy that human creators would (unconsciously) include. AI outputs are “depersonalised”, as it were. Thirdly, the concept of “model collapse” is introduced. It leads to further homogenisation as AI systems will inevitably include more and more data in their processes that are already AI-created, setting in motion a spiral of self-referentiality that is likely to lead to a collapse of the systems in the long run. While this may not be inevitable it poses enough of a risk to give us food for thought and spend more time assessing the danger posed to interpretative variety by generative AI.
Keywords: AI-generated music, music and model collapse, deepfakes of singers’ voices, AI and musical interpretation
Published in RUP: 18.12.2025; Views: 187; Downloads: 2
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6. Musical Interpretation: Specifics of Working with Textual Statements and Other AspectsViktor Velek, 2025, independent scientific component part or a chapter in a monograph Abstract: This article explores the issue of musical interpretation through a range of examples. The interdisciplinary approach spans ethnomusicology, opera interpretation and source authenticity, with all the examples firmly rooted in Czech musical culture. The first section revisits the earliest recordings of the songs of the Lusatian Serbs (1907) and addresses the correct approach when working with amateur musicians. In contrast, the second section focuses on historical recordings of operatic performances and subsequent reviews of live presentations. The example chosen here is the world-renowned Czech opera tenor Richard Kubla (1890–1964) and his problematic relationship with the music critic Milan Balcar. Their personal history complicated an objective assessment of Kubla’s performances. This section also covers another Czech opera star who achieved outstanding interpretive results both at home and abroad in the first half of the 20th century. Eva Hadrabová-Nedbalová, during her time in Vienna, suffered from various vocal indispositions, which affected her performances. The study uses handwritten notes from a frequent visitor to the Vienna State Opera to demonstrate the unreliability of certain reviews. During the Second World War, the soprano performed at the Nuremberg Opera, but her desire to leave led her to intentionally sing off-key – a fact that critics, of course, were unaware of, so they inadvertently judged her as past her prime and incompetent, evaluating a “simulation” rather than the real situation. For readers unfamiliar with the full context, these reviews could seem like a credible source of information. The third section discusses the issue of selecting a musical source. Mediaeval song repertoires often have various versions recorded, raising questions such as which one is the oldest or closest to the original. In the case of one of the most important Bohemian mediaeval musical works, the Hussite war hymn Ktož jsú Boží bojovníci (Ye Who Are Warriors of God), the situation is even more complex. The song first became a musical symbol, as well as a musical quotation, in its later version, published in 1530, and this version was incorporated into the musical culture of the late 19th century by Bedřich Smetana, the founder of modern Czech national music. A dilemma arose with the discovery of an earlier version from around 1420 (in the Jistebnice Cantionale). The coexistence of both versions sparked debate over which version of the score is most suitable, particularly when used as a musical quotation.
Keywords: music, interpretation, opera, Lusatia, music criticism
Published in RUP: 18.12.2025; Views: 246; Downloads: 2
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9. Auditory emotional design in multimedia learning : educational videos on wood as a building materialNežka Sajinčič, 2024, doctoral dissertation Keywords: multimedia learning, auditory emotional design, instructor’s voice, emotional tone, background music, same-language subtitles, learning in a foreign language, wood as a building material
Published in RUP: 14.10.2024; Views: 1481; Downloads: 55
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