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Few intellectual historians of nineteenth-century Europe would deny that the tradition of art music that evolved between the revolutionary watershed at the end of the eighteenth century and the international wars and domestic convulsions of the first half of the twentieth century—a body of musical works from Haydn and Mozart to Mahler and Strauss that has been passed down to us in canonized form as the "imaginary museum" of "classical music" —was an enormously significant dimension of European cultural and intellectual history, especially in German-speaking central Europe. In the territories of the German Confederation, the Kingdom of Prussia and the Habsburg Empire, and later in the German and Austro-Hungarian Empires, the production, performance and consumption of classical music was not just an important element in the history of aesthetic and cultural forms but also a privileged site for imagining and enacting the organization of individuals into historical subjects (theBildungof modern individuals) and for the integration of individuals into collectivities through processes of subjective identification. Broad interest in the relations between agency and identity among historians, including European intellectual historians, should have drawn many of them, one would have thought, toward investigation of the ways the cultural work undertaken by music was connected to, and interacted with, the cultural role of the textual and visual arts, or of how musical performance and experience helped European individuals organize and perform their self-activity and self-consciousness in relation to the past, to other individuals within the networks of communal relations, and to the transcendent. The history of music would appear to be critical for understanding historical experiences of the relations between memory and expectation at both the individual and communal levels.

Objective: The present research examined design of a virtual keyboard for text entry with a rotary controller, emphasizing users who differ in age and system experience. Background: Existing research has minimally addressed usage frequency, age, and the effects of display shape and letter arrangement on movement and visual search components of text entry tasks. The present research was conducted to close these gaps. Method: Two experiments were completed to examine younger (18—28 years) and older (60—75 years) adults' movement and visual search capabilities using four keyboard shapes and three keyboard arrangements. In a third experiment examining combined effects on shape design, 32 younger (18—28 years) and 32 older (60—75 years) adults entered words on the two best shapes from the first experiments. Results: For the movement task, movement time was lowest for shapes with higher shape-controller compatibility. For the visual search task, search time and accuracy were best on the alphabetic arrangement. In the combined task, shape did not significantly influence performance at different levels of practice. Transfers, however, suggested that the shape with salient visual features elicited a text entry strategy for older adults that may promote more consistent performance under occasional usage. Conclusion: The studies together demonstrate that keyboard shape is important for efficient performance. Shape-controller compatibility facilitated performance in both age groups. Salient features facilitate performance, especially for older adults. In nearly all cases alphabetic arrangement yielded the best performance. Application: Recommendations are provided for virtual keyboard design for different usage frequencies, contexts, and users.

For many students, studying history is a boring and irrelevant endeavor. Traditional, teacher-centered teaching strategies contribute to this unfortunate reality. While the lecture method and textbook readings can and should be used in the teaching of history, these methods should not be used to the exclusion of student-centered, engaging strategies. One strategy which has been theorized to motivate and instruct students is the use of popular music in the classroom. The following paper examines the use of popular music in the history classroom and the various ways in which its use can engage, motivate, and instruct students. It is suggested that the use of popular music can serve to capture students' attention, create a positive classroom atmosphere, introduce and illustrate a time and place, generate interest in history, and enhance students' knowledge and understanding of history, specifically that of the Vietnam War and the era surrounding it.

Focusing on social science perspectives on popular music since the late 1970s with 'the Cultural Turn', this set covers the work of Simon Frith, Larry Grossberg, Andy Bennett, Keith Negus and many more, and provides a distillation of the best academic work published on popular music

Music and sound shape the emotional content of audio-visual media and carry different meanings. This volume considers audio-visual material as a primary source for historiography. By analyzing how the same sounds are used in different media contexts at different times, the contributors intend to challenge the linear perspective of (music) history based on canonic authority. The book discusses AV-Documents (analysis in context), methodological questions (implications for research, education, and popularization of knowledge), archives of cultural memory (from the perspective of Cultural Studies) as well as digitalization and its consequences (organization of knowledge).

The Revista Brasileira de Música (Brazilian Journal of Music) begins its 85 years consolidating its editorial policy of internationalization and democratization of access to knowledge. The present volume expresses the institutional concern to promote the socialization of the results of research developed at the university in broader sectors of society, focusing on the integration of updated knowledge about Brazilian music in the curricular contents of elementary and high school. The texts published here result from the first edition of the extension course 'Pedagogy of the History of Brazilian Music for Basic Education', aimed at the continuing education of teachers, and which was held during the IX International Symposium of Musicology of UFRJ "Music, Society and Socialization of Knowledge, "which celebrated the 170th anniversary of the UFRJ School of Music in the week of August 13-17, 2018.

In an Encyclopedia Devoted to Matters Pertaining to Persia and The greater Iranian cultural sphere, musical items cannot be too numerous or diverse. Musical topics fall under four categories: 1) the theory and history of traditional art music; 2) folk music of different regions; 3) musical instruments; and 4) individual musicians and their work, past and present, worthy of mention. Of these, art music provides the most extensive area for representation. The folk music of Persia, with patchy exceptions, has not been adequately studied; unfortunately satisfactory encyclopedia entries cannot be constructed in more than a few areas. The country is very rich in diverse musical instruments, but many are folk instruments about which, again, comparatively little scholarly work has been done. As to individual musicians, there are those medieval figures, mostly claimed by the Arabs and Turks as well, whom we know mainly through their extant writings on the theory of music. Only contemporary figures can be properly identified, both biographically and as to their artistic merits. They are mainly performers of the urban musical tradition.

Beginning in 1954, the U.S. State Department sponsored a Cultural Presentations Program that sent thousands of musicians to distant lands. These tours aimed to enhance the reputation of American culture, create a positive impression of the United States and its foreign policy, and compete with the many Soviet and Chinese performers who traveled for similar propaganda purposes. In 1965, Edmund Gullion, the former U.S. Ambassador to the Congo, described the purpose of public diplomacy as the transnational flow of information and ideas, the image of flow implying that the movement of intangibles was unfettered, perhaps even reciprocal. My investigation draws on several disciplinary perspectives. The anthropologist Anna Tsing notes that in discussions of globalization, scholars who study culture tend to valorize the cultural flow . . . but not the carving of the channel that enables the flow. Tsing turns away from a focus on media (the how of intercultural connections) toward the political interests that fostered the creation of global ties (the why). By contrast, diplomatic historians have thoroughly charted the political motivations for carving the channel (why), but until recently they have attended less to the nuanced international relationships created by musicians (how). These two perspectives inform one another: attention to the practice of musical diplomacy on the ground can reveal how power was exerted through it. The largest body of relevant evidence was preserved by the State Department; although U.S. diplomats sometimes exaggerated the musicians' successes, they often included eyewitness accounts and local press reports that afford us glimpses of the musicians' actions and their reception. Though these sources cannot offer a complete or wholly unbiased picture, they do provide meaningful information about the channels of communication opened by musical diplomacy and the flows of power and culture within these channels. Adapted from the source document.

"Since the first edition was published in 2009, Patrik Wikström's book has become a go-to text for students and scholars. This thoroughly updated third edition provides an international overview of the music industry and its future prospects in the world of global entertainment"--

A comparison was made of performance on two keyboards, a three-row alphabetic arrangement (ALPHA) and the standard typewriter array (QWERTY). Thirty subjects who ranged in typing skill from almost none to secretarial level operated the keyboards for ten half-hour sessions. Half of the subjects started on ALPHA and half on QWERTY, switching from one keyboard to the other after five sessions. Input material was a list of names and addresses taken from telephone directories. Keying rates and work output, as measured by the number of names and addresses correctly keyed, was found to be greater for skilled and semiskilled typists on the QWERTY keyboard. Performance on the two keyboards was essentially equal for unskilled typists.

Music and sound shape the emotional content of audio-visual media and carry different meanings. This volume considers audio-visual material as a primary source for historiography. By analyzing how the same sounds are used in different media contexts at different times, the contributors intend to challenge the linear perspective of (music) history based on canonic authority. The book discusses AV-Documents (analysis in context), methodological questions (implications for research, education, and popularization of knowledge), archives of cultural memory (from the perspective of Cultural Studies) as well as digitalization and its consequences (organization of knowledge).